Guggenheim Exhibition Spotlights Parisian Salons That Brought Late 19th-Century Radical and Reactionary Artists Together

16 juillet 2017

Guggenheim Exhibition Spotlights Parisian Salons That Brought Late 19th-Century Radical and Reactionary Artists Together

Jean Delville, The Death of Orpheus (Orphée mort), 1893. Oil on canvas, 79.3 x 99.2 cm. Région de Bruxelles-Capitale, en prêt à long terme aux musées royaux de Beaux-Arts de Belgique. Followed by © Royal Museums of Fine Arts of Belgium, Brussels. Photo: J. Geleyns – Roscan

NEW YORK - Through October 4, 2017, the Solomon R. Guggenheim Museum presents Mystical Symbolism: The Salon de la Rose+Croix in Paris, 1892–1897, the first museum exhibition on this revelatory and significant yet frequently overlooked series of Salons. Mysterious, mythical, and visionary themes, often drawn from literature, prevailed in the art of the six exhibitions, which were held annually in Paris from 1892 to 1897. Images of femmes fragiles and fatales, androgynous creatures, chimeras, and incubi were the norm, as were sinuous lines, attenuated figures, and anti-naturalistic forms. Featuring highlights from the Salons, the Guggenheim exhibition will include approximately forty works by a cross section of artists—some familiar, others less so—and invite a fresh look at and new scholarship on the legacies of late nineteenth-century Symbolist art.

Mystical Symbolism is organized by Vivien Greene, Senior Curator, 19th- and Early 20th-Century Art, with the assistance of Ylinka Barotto, Assistant Curator, Solomon R. Guggenheim Museum. Following its New York presentation, the exhibition will travel to the Peggy Guggenheim Collection, Venice, from October 28, 2017–January 7, 2018.

Fernand Khnopff, I Lock My Door upon Myself, 1891. Oil on canvas, 72.7 x 141 cm, Bayerische Staatsgemäldesammlungen, Neue Pinakothek, Munich. Photo: bkp Bildagentur, Berlin/Bayerische Staatsgemäldesammlungen, Neue Pinakothek, Munich/Art Resource, New York

In the spring of 1892 Joséphin Péladan (1858–1918), author, critic, and Rosicrucian, organized the first Salon de la Rose+Croix at the Galerie Durand-Ruel in Paris. Showcasing mystical Symbolist art, particularly a hermetic and spiritually devoted vein favored by the eccentric Péladan, the annual Salons were cosmopolitan in reach and served as a crossroads, gathering the work of artists from Belgium, Finland, France, Italy, the Netherlands, Spain, and Switzerland. Benefiting from extensive research to identify artworks shown in the original exhibitions, Mystical Symbolism will encompass painting, work on paper, and sculpture by artists such as Antoine Bourdelle, Rogelio de Egusquiza, Jean Delville, Charles Filiger, Ferdinand Hodler, Fernand Khnopff, Alphonse Osbert, Armand Point, Georges Rouault, Carlos Schwabe, Alexandre Séon, Jan Toorop, Ville Vallgren, and Félix Vallotton.

Mystical Symbolism provides an opportunity to explore the diverse and sometimes opposing concepts that informed Symbolism in the 1890s. Hinging on central artworks shown at each Salon, the exhibition will tease out seminal tropes, such as the role of Orpheus, adulation of the 15th-century early Renaissance Italian painters known as the Primitives, and the cult of personality that developed around figures including Richard Wagner and Péladan himself. Accompanied by historical documents and set in galleries adorned with lush furnishings, the exhibition conveys the spirit of the Salon experience. A musical component with work by Erik Satie and others underscores the key role occupied by composers for the movement.

Henri Martin, Young Saint (Jeune sainte), 1891. Oil on canvas, 65.4 x 49.3 cm, Musée des Beaux-Arts, Brest, France. Photo: © Musée des Beaux-Arts, Brest, France

Previous exhibitions on the Symbolist movement have focused primarily on a nationality or a broad theme, rather than on a specific event like the cultish Péladan’s Salon de la Rose+Croix. The participants’ diverging ideologies, ranging from politically conservative and Catholic to radically anarchist and anti-clerical, reveal how the varied approaches are dialectically related to the sacred and spiritual philosophies that constituted Symbolist art. By tracing the means through which the Salon proposed these impulses, the Guggenheim exhibition investigates the Symbolist precepts attendant in modernism.

The fully illustrated exhibition catalogue will offer new scholarship on the Salon de la Rose+Croix and Symbolism. It will be comprised of essays on the Salon and its main themes (Vivien Greene, Senior Curator, 19th- and Early 20th-Century Art, Solomon R. Guggenheim Museum, New York), the contemporary reception of the salon (Jean-David Jumeau-Lafond, independent scholar), and the connections between Symbolists tenets and those of early 20th-century avant-garde artists (Kenneth E. Silver, Professor of Art History, New York University). The catalogue will also contain a selected bibliography and artist entries authored by emerging scholars.

Charles Maurin, The Dawn of Labor (L’aurore du travail), ca. 1891. Oil on canvas, 79 x 148 cm, Musée d’art moderne et contemporain, Saint-Étienne Métropole, France. Photo: Yves Bresson, Musée d’art moderne et contemporain, Saint Étienne Métropole, France.

Charles Filiger, Madonna and Two Angels or Madonna of the Fireflies (Madone aux vers luisants), ca. 1892. Gouache and gilding on cardboard, 23.3 x 29.2 cm, Olivier Malingue. Photo: © Florent Chevrot, courtesy Olivier Malingue.

Ferdinand Hodler, The Disappointed Souls (Les âmes déçues), 1892. Oil on canvas, 120 x 299 cm, Kuntsmuseum Bern, Staat Bern. Photo: Courtesy Kuntsmuseum Bern, Staat Bern.

Carlos Schwabe, Poster for the First Salon de la Rose+Croix, 1892. Lithograph, 198 x 80.5 cm, The Museum of Modern Art, New York, Given anonymously, 1987. Digital image © The Museum of Modern Art/Licensed by SCALA/Art Resource, New York.

Félix Vallotton, The Fine Evening (Le beau soir), 1892. Woodcut, image: 23.2 x 31.1 cm, Collection des Musées d’art et d’histoire de la Ville de Genève, Cabinet d’arts graphiques. Photo: MAH-CdAG © Collection des Musées d’art et d’histoire de la Ville de Genève, Cabinet d’arts graphiques, inv. no. E 65-0122

Armand Point, The Annunciation or Ancilla Domini (L’Annonciation), 1895. Tempera on panel, 99 x 51 cm. Private collection, courtesy Sotheby’s. Photo: Courtesy Sotheby’s.

Pierre Amédée Marcel-Béronneau, Orpheus in Hades (Orphée), 1897. Oil on canvas, 194 x 156 cm, Musée des Beaux-Arts, Marseille. Photo: © Claude Almodovar/Collection du Musée des Beaux-Arts, Marseille.

Alexandre Séon, The Lament of Orpheus (Lamentation d’Orphée), ca. 1896. Musée d’Orsay, Paris. Gift of Fleury Gromollard, nephew and heir of the artist, 1917. Photo: © Solomon R. Guggenheim Foundation.

Jean Delville, Portrait of the Grand Master of the Rosicrucians in Choir Dress, Joséphin Péladan, 1895. Photo: Florent Gardin/ Musée des Beaux-Arts, Nîmes; © 2017 Artists Rights Society (ARS), New York/SABAM, Brussels.

Jean Delville, The Angel of Splendors (L’Ange des splendeurs), 1894. Courtesy of Musées royaux des Beaux-Arts de Belgique. © 2017 Artists Rights Society (ARS), New York / SABAM, Brussels. Photo: © Royal Museums of Fine Arts of Belgium, Brussels.

Installation View: Mystical Symbolism: The Salon de la Rose+Croix in Paris, 1892–1897, Solomon R. Guggenheim Museum, New York, June 30– October 4, 2017. Photo: David Heald © Solomon R. Guggenheim Foundation, 2017